SHOMEI TOMATSU 5 June to 16 September Fundación MAPFRE Casa Garriga Nogués Exhibition Hall Barcelona 1 Fundación MAPFRE is delighted to invite you to the press conference for the exhibition Shomei Tomatsu, to be held on 4 June at 10.30 am in Fundación MAPFRE’s Exhibition Space on Carrer de la Diputació, 250, Barcelona. The presentation will be given by Juan Vicente Aliaga, curator of the exhibition and professor at the Universitat Politècnica de València, and by Pablo Jiménez Burillo, director of Fundación MAPFRE’s Department of Culture. Press conference: 4 June 2018, at 10.30am Exhibition dates: 5 June to 16 September Venue: Casa Garriga Nogués, Carrer de la Diputació, 250, Barcelona Curator: Juan Vicente Aliaga Production: Fundación MAPFRE Exhibition produced by Fundación MAPFRE with the collaboration of the Tokyo Photographic Art Museum http://exposiciones.fundacionmapfre.org/v @mapfrefcultura # @mapfrefcultura # facebook.com/fundacionmapfrecultura Dirección Corporativa de Comunicación Alejandra Fernández Martínez Tlf.: 91 581 84 64 – 690 049 112 [email protected] Cover: Shomei Tomatsu Eiko Oshima, Actress in the Film Shiiku (Prize Stock), 1961 Collection of the Tokyo Photographic Art Museum, Tokyo © Shomei Tomatsu – INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film 2 Shomei Tomatsu INTRODUCTION Fundación MAPFRE is delighted to be presenting the exhibition Shomei Tomatsu, the first to be devoted in Barcelona to the unique work of this great Japanese photographer whose oeuvre encompasses the key events in the history of Japan after World War II. The work of Shomei Tomatsu (Nagoya, Aichi, 1930 - Naha, Okinawa, 2012) arose “in the shadow of the war” in a context of devastation and poverty, as he himself noted in his writings. Japan at that date was a defeated country under American occupation: a country where the echo of the nuclear bombings of Hiroshima and Nagasaki still resounded in the collective memory. Shomei Tomatsu was twenty when he started to take photographs. He was already familiar with the technique as his two brothers enjoyed photography and even had an improved dark room in a cupboard. His first image, in a Surrealist style, was criticised by his teacher, who encouraged him to follow a realist approach. Tomatsu thus redirected his gaze towards reality, but without any concession to photo-journalism. The 1960s were crucial for defining his distinctive aesthetic. The exhibition surveys the artist’s career through 180 images divided into 11 thematic sections which reflect the subjects and issues that attracted Tomatsu’s attention. His commitment is evident in his choice of themes and their visual treatment, which is never literal or direct. Shomei Tomatsu’s work is that of an observer attentive to both the everyday and to the past and present of his country. Produced by Fundación MAPFRE and curated by Juan Vicente Aliaga, professor at the Universitat Politècnica de València, the exhibition includes exceptional loan from the Estate of Shomei Tomatsu - INTERFACE and others from the Tokyo Photographic Art Museum, Tokyo; The National Museum of Modern Art, Tokyo; the Colección Per Amor a l’Art, Valencia; and Taka Ishii Gallery Photography / Film, Tokyo. 3 Shomei Tomatsu THE WORK Tomatsu’s aesthetic is striking for its uniqueness, involving an avant-garde and personal gaze which often introduces an unexpected and visually dazzling viewpoint. This aesthetic dimension is emphasised by the daring angles that he used to capture his images, often high- or low-angle, as well as his audacious approach to compositional arrangement. Tomatsu was innovative as a photographer. In some cases he reorganised his images, giving them a new title or juxtaposing them in a different order, thus allowing for new readings of them in his photobooks and exhibitions. Over the course of his career he benefitted from the support of important magazines such as Camera Mainichi and Asahi Camera. It should be noted that despite the individual nature of his work, in 1959 Tomatsu was involved in the founding of the influential VIVO photographic agency, alongside Ikko Narahara, Eikoh Hosoe, Kikuji Kawada, Akira Tanno and Akira Sato. He also curated an important exhibition at the Seibu department store in Tokyo in 1968 entitled A Century of Photography: History of Japanese Photographic Expression in the Past 100 years. This allowed him to present the public with a historical scope of Japanese photographs, from anonymous images to famous ones, dating from the mid-19th century to 1945. One of the defining moments in Tomatsu’s career took place in 1960 in Nagasaki when he was invited to photograph victims of the atomic bombings. In a tactful and respectful manner, he met some of the survivors (hibakusha), subsequently remaining in contact with them for many years. Tomatsu had the good fortune to witness and record the student protests as well as the emerging Japanese counter-culture, which he knew at first-hand and portrayed in his photobook Oh! Shinjuku (1969). From the 1980s onwards he turned his gaze to other realities, including the traditional culture of temples and religious festivals depicted in the Kyoto series. At the same time those years also saw the artist focus on cherry trees in bloom (sakura), one of the Japanese symbols of the ideal of beauty and rebirth, which he photographed in colour at different times of the day and in different places, showing them in all their beauty. 4 In 1986, following a coronary illness and a lengthy convalescence, he began to focus on the waste material accumulated on the black sand of the beaches in Chiba Prefecture. The artificial and the natural coexist in the strange photographs which make up the series Plastics (1988-89). Tomatsu said that he associated the use of black and white with the American presence in Japan, whereas colour was an affirmation of life, rediscovered in Okinawa which he first visited in 1969 and where he spent his final years. Shomei Tomatsu Hateruma Island, Okinawa, 1971 Collection of the Estate of Shomei Tomatsu – INTERFACE, Okinawa © Shomei Tomatsu –INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film 5 Shomei Tomatsu SECTIONS OF THE EXHIBITION The exhibition includes 180 photographs divided into 11 sections, as follows: THE AFTERMATHS OF WAR The hardship of everyday life during a time of economic depression after the devastation of the war is the principal theme of this section. Particularly notable are the images of the damage caused by the conflict and the consequences of floods. Shomei Tomatsu Prostitute, Nagoya, 1957 Per Amor a l’Art Collection, Valencia © Shomei Tomatsu –INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film THE AMERICAN OCCUPATION This section focuses on the lives of the troops in the US bases installed on Japanese territory. Tomatsu maintained a critical position with regard to the foreign presence but was also able to positively appreciate some of the Americans’ habits and traits, particularly their uninhibited nature, which contrasted with rigid Japanese protocol. He was also powerfully struck by the constant presence of planes flying over the occupied territory, capturing them as threatening, frightening objects. 6 Shomei Tomatsu NAGASAKI THEN AND NOW Tomatsu’s first contact with some of the atomic bomb victims produced an enormous impression on him. He portrayed them with great tact, always asking their permission to show the world the infinite suffering that still afflicted them. He also captured the effects of the bombing through various everyday objects (a watch, a bottle, a shirt). Shomei Tomatsu A Bottle Melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki,1961 Collection of the Tokyo Photographic ArtMuseum, Tokyo © Shomei Tomatsu –INTERFACE /Courtesy of Taka Ishii Gallery Photography / Film 7 Shomei Tomatsu THE EXPERIENCE OF EROS In the 1960s, Japan was the setting for a range of political, cultural and also sexual manifestations which gave visibility to the serious discontent felt by one sector of the population in the face of a markedly conservative society. The rebellious nature of these groups, mostly of young people, was expressed through practices that transgressed sexual norms. Tomatsu reflected these transgressions in images taken at night in striptease clubs and rented rooms. Shomei Tomatsu Blood and Roses, Shinjuku, Tokyo, 1962 Collection of the Estate of Shomei Tomatsu – INTERFACE, Okinawa © Shomei Tomatsu –INTERFACE / Courtesy of Taka Ishii Gallery Photography/ Film 8 Shomei Tomatsu REBELS AND PROTESTS Shomei Tomatsu Riot, 1968 Collection of the Tokyo Photographic Art Museum, Tokyo © Shomei Tomatsu –INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film Discontent and a spirit of rebellion brought Japanese students onto the streets in the 1960s. Among other issues, they protested against the Vietnam War, the occupation of Okinawa, the militarisation of the country and the universities’ lack of independence. The revision of the Security Treaty between Japan and the USA was seen as an offence. Tomatsu captured the clashes between police and students but as more than a mere onlooker: his images are filled with ghostly tones of black and white or colour, with the camera moving away or zooming in very close to create a type of chaos that reflects the actual experience of those demonstrations. 9 Shomei Tomatsu AFGHANISTAN, 1963 In August 1963 Tomatsu visited Afghanistan, sent by Taiyo magazine to document daily life in a country that was still a monarchy, long before the Soviet invasion and the Taliban oppression. On his arrival he encountered a place of arid landscapes scorched by the sun and with a largely nomadic population. What most attracted his attention was the lively movement of people on the dusty streets, despite the evident poverty. WHAT THINGS HAVE TO SAY From the outset of his career, Tomatsu looked at the most everyday things and objects, particularly the humblest ones, seeing them as an extension of human life. The series Asphalt and Plastics, which are the focus of this section, are good examples of this gaze.